A Manual of Fresco and Encaustic Painting: Containing Ample Instructions for Executing Works of These Descriptions. With an Historical Memoir of These Arts from the Earliest Periods |
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adopted amongst ancient appears architecture artists ashlar authority baths of Titus blue brick British brush Carbonate of lime carbonic acid cartoon cause caustic ceilings century church Cimabue cloth coat colours commenced composition Correggio damp decoration Dioclesian distemper drawing Durdham Downs edifices effect employed encaustic painting executed exhibition fact favour feet finished fresco and encaustic fresco painting fresco secco Genoa glazing Greek ground Hall inches intonaco Italian Italy laid lath light Maps marble masonry masters mastic materials method mind mixed mode moisture mortar Munich mural mural paintings observes oil painting operation ornament outline painted in fresco painter palace Paul Veronese plaster Pordenone portion practice prepared present preservation racter Raffaelle readers remarkable retouching Rome Royal Commission sand sculpture SECTION slaked specimens stoja stone strong stucco style stylus substances sufficient surface taste tints tion Titian transparency various Vitruvius wall
Popular passages
Page 105 - He next, with terra verte and white, threw in the cool tints of the face ; then with a pale tint of umber and white modelled in the features, covered with the same tint where the hair was to be seen, and with it also indicated the folds of the white veil. All this time he used the colours as thin as we do in...
Page 102 - After having completed the portion allotted to the day, any plaster which extends beyond the finished part is to be removed, and, in cutting it away, care must be taken never to make a division in the middle of a mass of flesh, or of an unbroken light, but always where drapery, or some object or its outline, forms a boundary ; for if this be not attended to, it will be almost impossible, in continuing the work the next day. to match the tints, so that the junction shall be imperceptible ; but by...
Page 192 - FEBBUABY, 1843. 12 transfer the painting again to cloth, in completing the operation above described, a stronger glue is used, which resists moisture, it being necessary to detach 'the cloths first used, by tepid water, after the back of the painting is fastened to its new bed.
Page 38 - Germans generally use more sand, viz., three parts to one of lime. The thickness of the coat is such as is generally used in preparing the walls of dwelling-houses. The surface of this first application should be rough, but not unequally so; and the mason should avoid leaving cavities in it. The wall thus prepared should be suffered to harden perfectly; the longer it remains in this state the safer it will be, especially if the lime used was in the first instance fresh. In that case, two or three...
Page 101 - Thus the requisite degree of completion can be attained, provided the daylight, and the absorbing power of the plaster, last. But, if the touches of the pencil remain wet on the surface, and are no longer sucked in instantaneously, the painter must cease to work, for henceforth the color no longer unites with the plaster, but, when dry, will exhibit chalky spots.
Page 106 - ... darks, threw a little white into the yellow 'round the head, and this portion of his composition was finished, all in about an hour and a half. This was rapid work; but you will observe that the artist rested four times, so as to allow the wet to be sufficiently absorbed into the wall to allow him to repass over his work.
Page 107 - He now put a little color into the cheeks, mouth, nose, and hands, and all this time he touched as lightly as he possibly could, not to wash up the intonaco. He then halted for ten minutes, looking at his oil study, and watching the absorption of the moisture ; and he called my attention to his outline — none of it was effaced by this washing.
Page 39 - Mr. Hamilton, a distinguished architect of Edinburgh, observes: — " In the preparation of walls and ceilings for fresco painting, no expense should be spared; battens and lath are obviously perishable materials, and therefore ought to be avoided. The damp from exterior stone walls may be guarded against by lining them with brick ; and, now that the use of...